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TOPCD-064
김영기 여창가곡III 둘째바탕
Yeochang Gagog III (Korean Classical Lyric Song for Female Singer) sung by Kim Young-gi
1 우조 이수대엽 羽調 貳數大葉 Wujo Isudaeyeop 10:57
2 우조 두거 羽調 頭擧 Wujo Dugeo 06:01
3 우조 우락 羽調 羽樂 Wujo Wurag 05:55
4 반우반계 반엽 半羽半界 半葉 Banwubangye Banyeop 08:56
5 계면조 이수대엽 界面調 貳數大葉 Gyemyeonjo Isudaeyeop 10:17
6 계면조 평롱 界面調 平弄 Gyemyeonjo Pyeongnong 05:27
7 반우반계 환계락 半羽半界 還界樂 Banwubangye Hwangyerag 04:48
8 계면조 계락 界面調 界樂 Gyemyeonjo Gyerak 04:42
9 계면조 편수대엽 界面調 編數大葉 Gyemyeonjo Pyeonsudaeyeop 02:58
10 계면조 태평가 界面調 太平歌 Gyemyeonjo Taepyeongga 10:04
■ 김경배/남창, 강사준/해금, 신용문/대금, 이오규/거문고, 김관희/피리 안희봉/해금, 이두원/단소, 김정집/피리, 이지영/가야금, 김광섭/장구
■ 연주곡 사설
1. 우조 이수대엽 (羽調 貳數大葉)
간밤에 부던 바람에 만정도화(滿庭桃花) 다지거다.
아희는 비를 들고 쓸으려 허는고나
낙화(落花)인들 꽃이 아니라 쓸어 무삼 허리요
2. 우조 두거 (羽調 頭擧)
한숨은 바람이 되고 눈물은 세우(細雨)되어
임(任)자는 창(窓)밖에 불면서 뿌리과저
날 잊고 깊이든 잠을 깨워볼까 하노라.
3. 우조 우락 (羽調 羽樂)
만경창파지수(萬頃滄波之水)에 둥둥떴는 불약금 게오리들아
비솔금성 증경이 동당 강성 너시 두루미들아
너 떴는 물깊이를 알고 둥 떴는 모르고 둥 떴는
우리도 남의 임 거러 두고 깊이를 몰라 허노라.
4. 반우반계 반엽 (半羽半界 半葉)
담안에 섯는 꽃이 모란(牧丹)인가 해당화(海棠花)인가
해뜩발긋 피어 있어 남의 눈을 놀래는다.
두어라 임자 있으랴 나도 꺾어 보리라.
5. 계면조 이수대엽 (界面調 二數大葉)
황산곡(黃山谷) 돌아들어 이백화(李白花)를 것거쥐고
도연명(淵陶明) 찾으리라 오류촌(五柳村)에 들어가니
갈건(葛巾)에 술듣는 소리는 세우성(細雨聲)인가 허노라.
6. 계면조 평롱 (界面調 平弄)
한손에 막대를 들고 또 한손에 가시를 쥐어
늙는 길을 가시로 막고 오는 백발을 매로 치렸더니
백발이 제 먼저 알고 지름길로 오도다
7. 반우반계 환계락 (半羽半界 還界樂)
사랑을 찬찬 얽동혀 뒤 걸머지고
태산준령(泰山峻嶺)을 허위허위 넘어가니
모르는 벗님네는 그만허여 버리고 가라 허건만은
가다가 자질려 죽을센정 나는 아니 버리고 갈까 허노라.
8. 계면조 계락 (界面調 界樂)
청산리(靑山裏) 벽계수(碧溪水)야 수이감을 자랑마라
일도 창해(一到 滄海) 허면 다시 오기 어려워라.
명월(明月)이 만공산 허니 쉬어간들 어떠리.
9. 계면조 편수대엽 (界面調 編數大葉)�
모시를 이리저리 삼아 두루삼아 감삼다가
가다가 한가운데 뚝 끊쳐지옵거든 호치단순(晧齒丹脣)으로 홈빨며 감빨아
섬섬옥수(纖纖玉手)로 두끝 마조 잡아 배 부쳐 이으리라 저 모시를
우리도 사랑 그쳐갈 제 저 모시 같이 이으리라.
10. 계면조 태평가 (界面調 太平歌) 男唱 : 김경배
(이랴도) 태평성대 저랴도 (태평)성대로다.
요지일월(堯之日月)이요 순지건곤(舜之乾坤)이로다
우리도 태평성대니 놀고놀려 하노라.
■ 김영기 프로필
1973~1980 중요무형문화재 제30호 가곡 전수장학생
1980 중요무형문화재 제30호 가곡 이수
1984~2001 중요무형문화재 제30호 가곡 전수조교
2001.11.30. 중요무형문화재 제30호 가곡 보유자 지정
서울대학교 음악대학 국악과 및 동 대학원 졸업
·개인발표회 6회, 협연 다수
·KBS국악대상 수상(1982, 1992, 1999)
·월하여창가곡 보존회 회장
·(재)월하문화재단 이사
·원광대, 영남대, 한국예술종합학교 출강
·한국정가악연구원, 정농악회 회원
·KBS국악관현악단 부수석
·김영기여창가곡 CD Ｉ, Ⅱ 출반
·김영기여창가곡 CD Ⅲ 연주회 실황음반 출반
■ 도와주신 분들
김경배/남창
·중요무형문화재 제30호 가곡 예능보유자
·경북대학교 국악과 교수
강사준/해금
· 서울대학교 국악과 교수
신용문/대금
·우석대학교 국악과 교수
이오규/거문고
·용인대학교 국악과 교수
김관희/피리
·국립국악원 정악연주단 지도위원
안희봉/해금
·국립국악고등학교 교사
이두원/단소
·부산교육대학교 교수
김정집/피리
·서울 예술대학 겸임교수
이지영/가야금
·용인대학교 국악과 교수
김광섭/장구
·국립국악원 정악연주단 단원
■ Seongaeg 선객先客 (lit. preceding visitor)
who recreated the original performance setting for Gagog
Kim Gyeong-bae (Prof. Gyeongbuk University)
Yeochang Gagog may be one particular female vocal repertoire which inherits the inner beauty among the existing other vocal genres. The reason lies in that it has two elements: one is aloofness that would randomly not reveal its inside meaning in a single melody, and the other rejection of unnecessary flaws. Consequently these qualities of the high integrity and vitality are brought into the song. This beauty of grace can be compared with that of a swan withdrawing its feathers lightly on the calm lake.
The beauty of Gagog is characterised within a vocal technique that uses seseong 세성, formality, and so on. Besides these features, it has a difficulty at some crisis during the performance when 6 or 7 accompanied string and woodwind players are involved in the song. There is such kind of vocal performance that the singer faces the audience for seven hours with only one drum or one janggo player, but Gagog singer is beyond this situation. Its performer is required for some rehearsals which take a considerable time due to its demanding rules. Furthermore s/he (Gagaeg 가객歌客, "professional" singer in a true meaning) is aware of the virtues of modesty that should take care of the other participants first. Because of this quality of humanity and artist, someone called it a "highly spiritual art" that the singer, above all, should control his/her mind of the body. In this sense Kim Young-gi can truly be considered as "Today's Gain 歌人가인 (lit. professional singer)" who holds the symbol of female Gagaeg.
This spiritual artistic quality inherited from her has been shown even after being appointed as the Yeochang Gagog Holder that was designated as JungyoMuhyeongMunhwajae 중요무형문화재 (Important Intangible Cultural Asset) No. 30 in 2001. She has been making enormous endeavour to continue transmitting her teacher's Gagog tradition. This CD is derived from the germs of the repertoire that she performed at Wumyeondang, Gunglipgugakwon in 2002 (November 8). In particular this CD will provide vividness to Gagog lovers whose performance was recorded in a selection of the second cycle of Yeochang Gagog and tried to put its context within keeping the "actuality". This concept corresponds to the close association with naturalness of a vocal sound that used to be performed at the natural environment or open spaces in the past. Thus this performance would essentially differ from those that try intentionally to enhance the results of singer's abilities than expected, employing advanced recording technology in confined recording studios. Performing in such a natural context, in fact, is not an approachable task in recreating the natural sound that the singer designed to revive the way it used to play in a traditional sense. It would only possible to do with the singer's virtuoso quality, long experiences with the repertoire and above all, considerably accumulated self-assurance.
This CD obviously is a result of her hard work that puts into her affection and long experience with the Gagog study. I hope her beauty will be remained forever as the core of Yeochang Gagog belongs to us.
■ Profiles of Kim Young-gi
Kim Young-gi received a BA and MA in Korean traditional music from Seoul National University. She performed Gagog repertoire for four times as a solo and joined in a number of ensembles. She won a scholarship as a transmitter of the JungyoMuhyeongMunhwajae (Important Intangible Cultural Asset) No. 30 Gagog between 1973-1980 and finished the Gagog course. She also was a teaching assistant for Gagog between 1984-2001. In 2001 she was finally appointed as the Holder of JungyoMuhyeongMunhwajae (Important Intangible Cultural Asset) No. 30 Gagog.
She won many awards in various competitions and among them was the KBS Gugag Grand Prix three times in 1982, 1992 and 1999. She has actively been involved in a number of cultural activities that is a member of Committee in the Wol-ha MunhwaJaedan (Cultural Foundation); a chair woman for Preservation Society of Kim Wol-ha's Yeochang Gagog; a researcher of Korean Jeonggaak 정가악 正歌樂; a member of Jeongnongakhoi 정농악회 正農樂會. She is currently a vice leader of the KBS Gugag Orchestra. She is also teaching Gagog in some universities such as Won'gwang, Yeongnam and Hangug Yesul Jonghap College.
She has already released two records called Kim Young-gi Yeochang Gagog CD 1and 2. This CD will be the title of Kim Young-gi Yeochang Gagog Living Performance CD.
■ other musicians
Namchang (남창男唱 Gagog sung by male)
Kim Gyeong-bae is a Korean Art Holder of JungyoMuhyeongMunhwajae No. 30 Gagog and a professor for Korean traditional music at Gyeongbuk University.
Haegeum (해금奚琴 2 stringed spike fiddle)
Gang Sa-jun is a professor for traditional music at Seoul National University, and An Huei-bong is a teacher of Gungnip Gugag Senior School.
Daegeum (대금大쳏 large transverse bamboo flute)
Shin Yong-mun is a professor for traditional music at Wuseok University.
Geomun'go (거문고 6 stringed plucking zither with a thin wooden bar)
Yi O-gyu is a professor for traditional music at Yong'in University.
Piri (피리 bamboo oboe)
Kim Gwan-hui is a teaching committee in Jeongak Ensemble of
Gungnipgugakwon, and Kim Jeong-jip is an additional professor for Seoul Yesul College.
Danso (단소 small notched vertical bamboo flute)
Yi Du-won is a professor of Busan Educational University.
Gayageum (가야금 12 stringed plucking zither)
Yi Ji-yeong is a professor for Korean music at Yong'in University.
Janggu (장구 hourglass drum)
Kim Gwang-seop is a member of Jeongak Ensemble of Gungnipgugakwon. | 
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